During the months of July and August, Flemish cultural centre de Brakke Grond, theatre collective De Warme Winkel and Julidans curate and host performances and concerts: the Peepshow Palace Festival. A corona-proof setting welcomes audiences daily in an array of booths built around a circular, rotating stage. Just like in the peep shows for adult entertainment, each gets an individual booth to view the shows from, equipped with a chair, disinfectant spray and tissues. With dimmed coloured lights and a slightly awkward atmosphere, Jordi Ribot Thunnissen and Lucia Fernández Santoro saw four shows connected to ‘urban’ movements, pop culture in the contemporary scene, all indicating how cultural heritages and references co-exist and affect our ways of consuming performances.
Double bill: Shailesh Bahoran/IRCompany – Heritage & REDO
Seen by Lucia Fernandez Santoro and Jordi Ribot Thunnissen
LFS: Shailesh Bahoran and Redouan Ait Chitt present two solos, both directed by Bahoran. The two virtuosic breakdancers bring up identity issues from different standpoints. Always through physical dexterity, two stories are told: Bahoran’s mixing traditional dances and hip hop, playing with their symbols and imagery; Ait Chitt’s tale of a resilient body defeating social barriers attempts to exceed the cliché connotations of his physical form.
How did you experience Bahoran’s solo?
JRT: The title seems to say it all. Heritage stems from research into the choreographer’s roots. Bahoran asks himself the basic question ‘who am I?’ and tries to answer by combining movement elements and storytelling features from his different pools of self. Think of India, Suriname, breakdance and popping. Think about precise movement qualities, mythical mimicry, acrobatic jumps and balances.